Picture-Play Magazine (Sep 1927 - Feb 1928)

85 He's Charlie Chaplin's Side-kick Harry Crocker, Chaplin's young assistant director, is also his close friend and adviser, and is not afraid to say "No!" to the great comedian when he disapproves of any of his ideas By Margaret Reid OUTSIDE of being Chaplin himself, just about the nicest thing in Hollywood for an ambitious young man to be is Chaplin's assistant director. That he is the person who takes and ihiterprets orders from Mr. Chaplin on the set is only incidental. He is also Charlie's social companion, his mental stimulant, his protecting dragon, his safety valve in moments of distress. The position demands versatility, to say nothing of diplomacy and a sense of humor. And only the brightest gentlemen need apply. To be Charlie's assistant is a great stepping-stone to success. It may be that the close association with Chaplin does something remarkable to men. But I think it is that the requirements of Charlie's assistant are so stringent that any one who could get the job in the first place is too talented to fail when he lights out on his own. Monta Bell was once Chaplin's assistant. So was Edward Sutherland. Bell is now well to the head of the moderns among directors. Sutherland also. Hany d'Arrast is another who once assisted Chaplin. He is now one of Paramount's most valued directors. The latest young man to fill the enviable office of assistant director to Chaplin is Harry Crocker. Harry, as has often been mentioned before, is a scion of the famous and aristocratic Crocker banking family of San Francisco. What is more relevant is that he is ■ clever, and probably one of the most popular young men in Hollywood. This popularity is a manifestation of genuine affection for him, and has nothing to do with his being a millionaire, since Harr}' is his own man, driving a not-very-new roadster and having only a little of his salary put by in the bank for a foggy day. He is tall, he is dark, he is handsome. He has a grand sense of humor, and a fine mind, with a gift for ttnerring logic. Chaplin first met Harry Crocker at Montmartre, in the usual casual fashion that one does meet people there. A short time later, they met again at a party. The game of charades brought the two together. Harry's wit and keen sense of comedy caused Chaplin to notice him. Almost immediately thereafter, however, Charlie left for New York, and Harry continued to be Hollywood's favorite extra man. As an extra, Harry was unique. It was as such that I first knew him — we worked in the same pictures at Harry's position is an enviable successful director started his assistant. In addition to his numerous other duties, young Crocker played the juvenile in "-The Circus." He is shown here in a scene with Chaplin and Merna Kennedy. various times. I particularly remember a long stretch of night work in a Metro-Goldwyn film. Thenighis were cold, our costumes designed for California sunshine only, and the work hard. The concentrated mood of the whole company — except for Harry — would have sunk a battleship to the bottom of the ocean. But Harry's wit and good humor revived the tired, disgruntled extras as they warmed themselves at the stoves that lined the outskirts of the set. He has a gift for utterly foolish comed_ that springs, I think, from a verv genuine enjoyment of life. His imitations of celebrities — or nonentities, either — are telling, though never too unkind. Harry and I were both acting as merry masquers in "La Boheme" when Chaplin returned from New York. Harry came onto the set one morning simply brimming with excitement. He had run into Charlie at luncheon the day before, and out of a clear sky, the comedian had asked, "Do you want a job as my assistant?" Harry had tried to reply "Yes!" without appearing too dumfounded and Charlie had told him to come over to his studio the following week. On the next Monday, Harry got an hour off and raced over to the Chaplin studio. Charlie, in his vague fashion, had not told any one he was expecting him. The studio manager was therefore a bit startled by this strange young man who calmly announced that he was Mr. Chaplin's new assistant. Charlie, sought out in the depths of the studio, said, "Oh, yes, yes — surely " Cimtinued on pagd 106 one — more than one career as Chaplin's